Like Still Life with Mandolin and Galette (MMA 1999.363.65) , this monumental still life was painted for exhibition at the fashionable Paul Rosenberg gallery in Paris. The large scale and muted colors of this work and others like it were admired by the same collectors who patronized modern architects such as Le Corbusier and furniture makers such as Émile-Jacques Ruhlmann, who adapted aspects of Cubism in their own work.
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Inscription: Signed and dated in black paint, lower left: Picasso/ 25
[Paul Rosenberg, Paris, 1925–at least 1934; acquired from the artist by June 1925, stock no. 1289; sold to Bélanger]; M. Bélanger, Paris (until 1952; sold on July 21, 1952 to Rosenberg); [Paul Rosenberg & Co., New York, 1952–53, stock no. 5453; sold on September 10, 1953, for $45,000 to Marx]; Samuel A. and Florene Marx, Chicago (1953–his d. 1964); Florene May Marx, later Mrs. Wolfgang Schoenborn, New York (1964–d. 1995; on extended loan from 1971 to the Museum of Modern Art, New York; on extended loan from 1985 to MMA; her bequest to MMA)
Paris. Paul Rosenberg. "Exposition d'oeuvres récentes de Picasso," June 15–July 1926, no. 48.
Paris. Galerie Georges Petit. "Exposition Picasso," June 16–July 30, 1932, no. 164.
Kunsthaus Zürich. "Picasso Retrospective, 1901–1931," September 11–October 30, 1932, extended to November 13, 1932, no. 159.
New York. Paul Rosenberg. "Loan Exhibition of Paintings by Picasso," January 17–February 12, 1955, no. 8.
New York. Museum of Modern Art. "The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection," November 2, 1965–January 2, 1966, unnumbered cat. (pp. 22–23).
Art Institute of Chicago. "The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection," February 11–March 27, 1966, unnumbered cat.
City Art Museum of Saint Louis. "The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection," April 26–June 13, 1966, unnumbered cat.
Mexico City. Museo de Arte Moderno. "The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection," July 2–August 7, 1966, unnumbered cat.
San Francisco Museum of Art. "The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection," September 2–October 2, 1966, unnumbered cat.
Buenos Aires. Museo Nacional de Bellas Artes. "de Cézanne a Miró," May 15–June 5, 1968, unnumbered cat. (p. 41).
Santiago. Museo de Arte Contemporáneo de la Universidad de Chile. "de Cézanne a Miró," June 26–July 17, 1968, unnumbered cat.
Museo de Bellas Artes de Caracas. "de Cézanne a Miró," August 4–25, 1968, unnumbered cat.
New York. The Metropolitan Museum of Art. "The Florene M. Schoenborn Bequest: 12 Artists of the School of Paris," February 11–May 4, 1997, extended to August 31, 1997, brochure no. 17.
New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 100).
Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 42.
Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 42.
New York. The Metropolitan Museum of Art. "Picasso in The Metropolitan Museum of Art," April 27–August 1, 2010, no. 74.
Madrid. Museo Nacional Centro de Arte Reina Sofía. "Pity and Terror: Picasso's Path to Guernica," April 5–September 4, 2017, unnumbered cat. (p. 58).
Canberra. National Gallery of Australia. "Matisse & Picasso," December 13, 2019–April 13, 2020, unnumbered cat. (p. 111, as "Mandolin, Fruit Bowl and Plaster Arm [Mandoline, Compotier, Bras de Plâtre]").
Christian Zervos. Picasso: Oeuvres 1920-1926. Paris, 1926, pl. 33.
Christian Zervos. "Oeuvres récentes de Picasso." Cahiers d'Art no. 1 (1926), p. 91, ill.
Christian Zervos. "De l’importance de l’objet dans la peinture d’aujourd’hui (III)." Cahiers d’Art 5 (1930), p. 292, ill.
Christian Zervos et al. "Picasso [special issue coinciding with Exh. Paris 1932]." Cahiers d'art 7, nos. 3-5 (1932), p. 159, ill.
Genaro Estrada. Genio y figura de Picasso. Mexico, 1936, p. 58, no. 164 (Exh. Paris 1932 checklist).
Christian Zervos. Pablo Picasso. Vol. 5, Oeuvres de 1923 à 1925. Paris, 1952, p. 178, no. 444, ill.
José Camón Aznar. Picasso y el Cubismo. Madrid, 1956, pp. 478, 727, fig. 350.
Douglas Cooper. Great Private Collections. New York, 1963, pp. 282, 291, ill.
Brigitte Léal, ed. Picasso, Jeunesse et genèse: Dessins, 1893-1905. Exh. cat., Musée Picasso. Paris, 1991, p. 18, fig. 8.
Christian Geelhaar. Picasso: Wegbereiter und Förderer seines Aufstiegs, 1899–1939. Zürich, 1993, p. 150, fig. 150.
Michael FitzGerald. Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art. New York, 1995, p. 159, fig. 53.
Herschel Chipp and Alan Wofsy, ed. The Picasso Project: Picasso's Paintings, Watercolours, Drawings and Sculpture, A Comprehensive Illustrated Catalogue 1885-1973. Vol. 4, Toward Surrealism, 1925–1929. San Francisco, 1996, p. 26, no. 25-085, ill.
Julia May Boddewyn in Michael FitzGerald. Picasso and American Art. Exh. cat., Whitney Museum of American Art. New York, 2006, pp. 340, 372.
Sabine Rewald inPicasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 204–5, no. 74, ill. (color).
Isabelle Duvernois inPicasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 205.
T. J. Clark inPity and Terror: Picasso's Path to Guernica. Exh. cat., Museo Nacional Centro de Arte Reina Sofía. Madrid, 2017, pp. 28, 183, ill. p. 58 (color).
Jane Kinsman in Jane Kinsman with Simeran Maxwell. Matisse Picasso. Exh. cat., National Gallery of Australia. Canberra, 2019, pp. 110, 185, ill. p. 111 (color).
Pablo Picasso (Spanish, Malaga 1881–1973 Mougins, France)
1929
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